If you were handed over the man who destroyed your life and those of countless others––a psychopath who tortured, raped, and murdered in the name of a tyra...
When Armando (Wagner Moura) finally resolves to seek a fake passport and one-way ticket out of Brazil for himself and his young son, he asks his father-in-...
Late into I Only Rest in the Storm, Sergio (Sérgio Coragem) is asked a question he can’t seem to answer: what do you care about? A Portuguese environmental eng...
When Donbass arrived in 2018, sandwiched between the start of the 2014 Russian-backed conflict in the titular eastern Ukrainian region and full-scale invasion ...
Note: This review was originally published as part of our 2024 Berlinale coverage. Direct Action opens in theaters on April 11.
There’s a stretch of lan...
Note: This review was originally published as part of our Cyprus Film Days International Festival 2023 coverage. The Fishbowl is now playing in theaters from ...
Note: This review was originally published as part of our Cannes 2024 coverage. Misericordia will be released in theaters on March 21 from Janus Films/Sideshow...
The first time I came across the name John C. Lilly I was––rather fittingly, for reasons that will become clearer in a minute––not exactly sober. Late in the n...
Consider the logline: a 34-year-old, pre-diabetic, 250-pound, extremely anxious loner finds respite as a cleaning simp for dominatrices eager to belittle h...
Positive or not, all critical appraisals of Hélène Cattet and Bruno Forzani’s films inevitably land on the same talking point: their inordinate cinephilia....
An Italian-born, UK-raised film critic, Leonardo Goi is an alumnus of the Locarno Critics Academy and Berlinale Talents, where he coordinates the Talent Press. Along with The Film Stage, he writes for MUBI, Senses of Cinema, and Kinoscope. For reviews and reports from the festival circuit, follow him on Twitter at @LeonardoGoi.
